Bajirao Mastani

<p>In 1720, following the demise of , the court of discusses appointing a new Peshwa. nominates Vishwanath’s young son as his father’s potential successor; he passes the test he is put through, ultimately becoming the new . 10 years later, Bajirao’s wife is paid a visit by her friend Bhanu, whose husband was executed by Bajirao on grounds of espionage. Bhanu anticipates that just as she has been pining for her dead husband, Kashi will suffer too. While on a journey to , Bajirao is visited by an of , who enlists his help in repelling the invasion and reveals herself to be , daughter of king and his . Impressed with her valor, Bajirao helps them fight the invaders. Overwhelmed with joy, Chhatrasal insists that Bajirao celebrate with them. During this course of time, Bajirao and Mastani fall in love with each other. Before departing home, Bajirao gifts her a dagger, unaware of a Rajput tradition that establishes that a man presenting a woman his dagger represents their wedding. Back home in , Kashibai welcomes Bajirao with a tour around , their newly-built residence and , the hall of mirrors, that allows Kashibai to see Bajirao in there from her chambers. Determined to pursue her love, Mastani arrives at Pune but Radhabai, Bajirao’s mother, upon perceiving Mastani’s intentions, conducts herself harshly and insists that Mastani leave, disparaging her religion. When Mastani refuses to oblige, Radhabai insults her by setting her up in accommodations with courtesans. Mastani tolerates the humiliation and goes to the extent of asking to be Bajirao’s consort at Chhatrapati Shahu’s court. Bajirao initially reprimands Mastani and asserts that she will receive no honour and that he will never be fully hers; she agrees and he takes her as his wife. To make way for their intentions of annexing the , the Maratha Confederacy must ensure that the doesn’t obstruct. Bajirao sets out to arrange a truce with the Nizam and emerges successful. He returns home and discovers that both Mastani and Kashi are with child. That night, Kashi witnesses Bajirao embracing Mastani from her chambers in the Aaina Mahal. Distraught, she leaves for her birthplace and returns months later with their new-born son . Mastani too gives birth to a son, whom they name . Nevertheless, when the priests refuse to conduct a Hindu naming ceremony for him, Bajirao declares that Krishna Rao shall be raised as a Muslim called Shamsher Bahadur. A few years pass by and Bajirao brings Mastani and Shamsher to live with him in Shaniwar Wada. alias Nana Saheb, Kashi and Bajirao’s eldest son, returns home from his tutelage at and expresses his strong hatred for Mastani. Amidst festivities, Kashi is informed of a conspiracy to murder Mastani and her son; she notifies Bajirao of the attempt and he promptly rescues them. Afraid for their safety, he builds her a new residence. He then prepares to leave and defeat , the revolutionary prince of Nizam, But before departing, a custom requires Kashi, his chief consort, to see him into the battle. Bajirao visits her in deference to the tradition but she states that he has broken her heart and stripped her off her pride, comparing their relationship with that of and . She then asks him to never enter her chambers again. After Bajirao leaves, Nana Saheb and Radhabai incarcerate Mastani and Shamsher. Upon discovering this, an outraged Bajirao defeats Nasir Jung but becomes severely ill. Kashi attends to him and insists Radhabai to release Mastani, emphasizing that only she can save him. Nana Saheb, however, ignores the instructions and only releases Shamsher. Bajirao, deliriously ill, hallucinates and dies while Kashi helplessly watches on. At the same time, Mastani dies in captivity and the ill-fated lovers are united in death. The cast has been listed below: had conceived the historical romance about Maratha Peshwa and his second wife Mastani even before he had directed his first feature in 1996. Several other directors such as , and had tried to make a film about the two historical figures but they were never made. Bhansali had intended to make after the release of (2002) and had officially announced it in 2003, with filming scheduled to begin in May 2004. The film, however, was shelved indefinitely. Reports about a possible revival had made headlines ever since; Bhansali had planned to revive it every other year but the project never came to fruition. In an interview with , Bhansali spoke about his intention to make after finishing every film he made in-between, saying “I kept trying to revive it over and over again, but if there is one thing that filmmaking has taught me, it’s that every film has its own destiny. And I strongly believe that the souls of … Bajirao, Mastani and Kashibai wanted us to make this film only now.” In the process, the film became a passion project for him. After spending eleven years in , Bhansali revived the project in 2014; the film was reported to be an adaptation of the Marathi-language novel (1976) by . After the project was shelved, Bhansali said he struggled to put the film together and that he considered the project impossible to make. Nevertheless, he clung to his ambition to make the film someday, saying, “there is magic to it”. Some film industry professionals believed it would never be made, calling it “jinxed”. Bhansali always believed in the project, assuring himself the script was so powerful he had to make it one day. He told , “Honestly, I want very few things in life … so I know that I am resilient enough to get them all! Deep down, I kept asking for the universe to let me make this film. When you dream very genuinely, then I believe you also get the power to fulfill it. In pursuing , I have been resilient and very focused. I have sacrificed a lot of things”. Primarily known for making romantic dramas, Bhansali was intrigued about the romance between “two people who defied everything, just to be in love with each other”, and was excited to tell a 200-year-old story. He wanted to show the relationship between Bajirao and Mastani because it was rarely depicted in history books, and little was known about it. He had long admired the Maratha backdrop and the different religions of the protagonists—Bajirao was Hindu and Mastani was Muslim—which further drove his interest towards knowing more and telling the story. He saw it as a chance to comment on religion and love, saying, “In those times, people were offended by the same things that offend them today. Through this film, I want to show that love is the greatest religion.” Prakash R. Kapadia wrote the screenplay. The makers acquired the rights of the novel and worked with historian . Kapadia said writing the screenplay was a difficult task and a huge responsibility considering the historical context. Kapadia and Bhansali had consistently worked on the script since its conception, refining several aspects of the film. Considering the script was written twelve years before, several changes were made to it, such as the decreasing the length and increasing the pace to suit the modern audiences. Although adapted from the novel, the romance between the film’s protagonists has not been well documented in history books or archives and several versions of the story exist. Many cinematic liberties were taken to build drama and highlight incidents. Bhansali originally wanted to repeat his (1999) pairing of with for the eponymous roles, but could not cast them together after their highly publicised break-up. Khan then tried to suggest his then-girlfriend for the role of Mastani but things did not materialise. When the film was finally announced in 2003, Bhansali had cast Khan and in the titular roles, with playing Baji Rao’s first wife Kashibai. However, the idea was scrapped when Khan and Kapoor signed other films together. Bhansali wanted to be the first director to showcase their pairing. Hence, the film was shelved and Bhansali went on to direct other films. Over the following 10 years, media speculation about the production and casting of continued. After the film was revived in 2014, reports of and being approached for the film made headlines in February. Devgn dropped out of the film, however, due to differences with Bhansali about several terms of his contract, such as dates and remuneration. Bhansali offered the role to , but he had to turn down the role over scheduling issues. The next month, it was reported that was in talks to play Bajirao. The same month, reports suggested was cast to play Kashibai, Bajirao’s first wife. In July 2014, it was officially confirmed that Singh, Padukone and Chopra were finalised to play the principal roles. Chopra was the first actor to be cast in the film; Bhansali wanted Kashibai to be cast first, only after which he could decide whom to cast for the title roles. Bhansali, who produced Chopra-starrer (2014), went on to that film’s set in to narrate it with the writer Prakash Kapadia; Bhansali was adamant in his choice of Chopra, who recalled, “The rest of the film hadn’t been cast yet. My picture would be there and the pictures for Bajirao and Mastani would keep changing.” joined the cast in the late August 2014. In late September 2014, it was confirmed that was cast for the role of Bajirao’s mother Radhabai; , , and had also been considered for the role. The following month, joined the cast as an antagonist. In November 2014, the casting of Bajirao’s sisters were finalised; Sukhada Khandkekar was ast as Anubai and as Bhiubai. The following month, was cast to play Maratha Emperor Chhattrapati Shahu. It was announced in January 2015 that was chosen to play Bajirao’s younger brother Chimaji Appa. was cast as the film’s narrator. All of the actors had to undergo training before filming began; Singh and Padukone learned sword-fighting, horse-riding and the ancient Indian martial art . Singh was also required to learn Marathi and shave his head for the part, whereas Padukone had to take dance lessons. In preparation for her role of Kashibai, Chopra had 15 days of language training in the Peshwai Marathi dialect spoken during the time of the ascension of the Peshwas to perfect the accent. Azmi shaved her head completely for her role. Singh has described his character as a “true Maratha”, saying, “The deeper I get into it the more I realise what a great man he was. It is a great honour to be selected to play this character.” He has said he always wanted to transform himself into a character and playing Bajirao gave him that scope, which he said was “draining and tiring in every way”. For portraying Bajirao, Singh’s preparations required him to isolate himself from his own being and living like Bajirao. He instructed the crew members to address him as Bajirao, which helped him to remain in his character. Singh would not respond to people who used his real name. He said, “It takes a lot of work and effort to be different from whom I am, and two hours to get ready, complete with makeup and the heavy costumes. After all this, if someone just tells me, Ranveer, your shot is ready! all that goes to waste.” Padukone found her character to be very relatable, saying, “She was so brave, strong, determined and yet fragile and vulnerable”. She was also inspired by her character and found playing the role challenging; it was physically demanding and required a lot of dancing. Padukone said the character had different layers; “One minute she goes on the battlefield, the next minute she’s romancing him”. Chopra was drawn towards the film because of her character which she thought was “very heart-breaking”. She said playing Kashibai was “emotionally difficult” and a complete contrast to the strong women she has portrayed in most of her films. She described her character as someone who is “heartbroken, a silent sufferer, dignified, resilient, can’t take charge of her life, goes with whatever life throws her way. Just grace under fire.” Considering its scale, the film required detailed and extravagant pre-production work, which required extensive research and planning. Saloni Dhatrak, Sriram Iyengar and Sujeet Sawant worked as on the film. Iyengar and Sawant had heard about the film while working on another film, when it was first announced. Having never met Bhansali, they started researching on their own by visiting Pune and and learnt about Maratha architecture. When the film was shelved, they continued to research and formed a portfolio, hoping to approach other filmmakers for work. Several years later, when they heard about the revival, they met Bhansali, who was impressed by their research and presentation. Bhansali wanted more research on ; he engaged Dhatrak, who joined Iyengar and Sawant. Bhansali then shared the script with the art directors and described his vision and the scale of the production. Pre-production work started as early as February 2014, continued as the shoot progressed and lasted until the filming was complete in October 2015; it lasted nineteen months. Before pre-production work started, the art directors discussed with Bhansali about how much of the film would be filmed on set and outdoor locations, giving them an idea to how many sets they needed to create. Once the number of sets and location shots was decided, the production moved forward. Along with the art directors, nineteen art assistant directors, including architects, designers, sketch artists and props artists, were involved. Twenty-two sets were created in following a flow chart that included around 960 sketches and countless layouts. The two biggest sets were the exact replicas of and the Aaina Mahal, both of which were “high on grandeur and intricacy”. The Shaniwar Wada set was the biggest set they had constructed; it took 45,000 planks and 600 workers a day to erect. It was constructed on Sunil Maidan, one of the biggest open spaces in Film City and took forty-five days to build. Kashibai’s room was the first set to be constructed, which was approved after navigating through twenty-five designs. The art directors did architectural research from Pune, and Satara, studying fortifications, baston walls and city gates to understand the interior and exterior designs of the ancient period and incorporated those ideas into building Kashibai’s villa. Lotus motifs on mud-clad walls and handmade textures were used to give the set a realistic appearance. Aina Mahal took 4,500 planks, with a hundred workers per day. The set was given a lotus-like design, with walls, ceiling and floor made out of handmade mud embedded with sparkling mirror designs. The replica of Aina Mahal was constructed in forty days, with more than 30,000 square feet of mirrors. More than 700 design stencils were used to decorate the hall. Although the mirror hall was a Mughal concept, the art directors designed it to look like Maratha architecture. Mastani Mahal was built as an amalgamation of Rajput and Maratha architecture. The exterior of Mastani Mahal was built as a part of Shaniwar Wada, whereas the interiors of were built on separate sets consisting of a courtyard and bedroom. Mastani’s room in Bundelkhand was crafted using a mix of Persian, Mughal and Rajput motifs and architecture. All of the sets were furnished with opulent objects and props to give the interiors a feel of the ancient . Only earthen diyas and torches were used to light the sets. Silken saris were used, with bedsheets and hand-painted walls with 18th century motifs added. Craftsmen were hired to recreate 18th-century textures, fabrics, weaponry, jewellery and furniture. Almost 30,000 oil lamps were made for the film and 500 suits of armour were designed for the war scenes. There were also headgear and boots worn in that period. The armour and headgear weighed between ten-twenty kilos and two kilos, respectively. The team also designed props including different types of tents, lighting props, and elephant and horse decors for the war sequences. The props were made in Mumbai and had to be taken to Rajasthan, the outdoor location. The film’s costumes were designed by and . Modi designed clothes for the three lead characters and Basu designed for the supporting cast. The costumes for extras and war extras were done by Ajay and Chandrakant, respectively. Bhansali had detailed script-reading sessions with the designers to help them understand the characters, their emotions and personalities, which would mirror the costumes and the grandeur of the 18th century. Basu started her research by visiting several ancient monuments such as the , , and – caves, which gave her some perspective of ancient Maharastrian culture. She also travelled to cities such as , , and to gather more knowledge about the history of clothing and textiles. About 300 costumes were designed for the three leads alone. Real and gold wires were used to weave the costumes. Since no pictures of Kashibai existed, the paintings of were used as a reference for designing her looks and costumes. Modi had designed eighty with bright colours such as yellows, hot pink, emerald green and purple, inspired from the Raja Ravi Varma paintings, for Chopra. The custom-made nine-yard saris were weaved by craftsmen from , and ; they were made a little lighter than usual to avoid making Chopra look large on screen. For making the saris, fabrics such as silk, muslin, and chanderi worn in that period were designed. For one song sequence featuring Chopra, Modi had created six sets of the same sari. Peshwas used to wear , and with a large flare in that period, so it was eminent for Bajirao’s character. A wide palette of solid colours, such as white and cream, were used for the sombre and emotional scenes whereas red, orange, blue and deep purple were used for the celebratory scenes. For designing the Bajirao’s armour, , khaki and were employed. A sword was also made for him. For Mastani, Modi used a mix of Persian and Muslim clothing of muslin, khadi and thin chanderi fabrics, with and hand embroidery to depict her half-Muslim heritage. Padukone was predominantly given and its derivatives such trailing shararas, shararas with less flare and crinkled shararas made of . She was given a for just one scene. She was also given Odhnis, , , floor-skimming and paired with . Softer colours with Persian influences such as shades of powder blue, mint green, pale yellow, aqua blue, powder pink and other typical porcelain colours were used for her clothes. A embellished with jewellery such as uncut diamonds and pearls was designed. For one of the Mastani costumes, Modi designed a five-layered outfit consisting of an jacket, a woven dupatta, sharara and inner . Expensive and real jewellery was used in the film. The designers created the jewellery for each character. Modi said they did not want to compromise, so the best materials such as real Basra , antique stones and were used to give the royal look needed for the characters. Traditional Marathi-style jewellery was used to style Kashibai, while for Mastani and Jewellery was used. Several Indian jewellery designers, including from Pune and Shri Hari Jewellers from Delhi, were hired. The costume and production designers also researched in museums, art galleries, history books, paintings, palaces, temples and forts to study the textiles, colour palettes and artwork of the ancient Maratha Empire. Cinematographer shot the film using XT lenses. Chatterjee had done extensive research before starting the film. began on 9 October 2014 with Chopra on the set in Film City, . Later that month, Singh joined the shoot. Most of the film was shot on the highly detailed sets. In late November, Chopra fainted on the set due to exhaustion while filming a scene that needed to be filmed ten times continuously. A doctor was called and filming stopped for some time but she later resumed the shoot. Padukone joined the cast for two days during late December 2014 and resumed shooting in April 2015 after completing work for her other projects. Outdoor location filming began in February 2015 at in . Crowd scenes were also filmed there. Singh fell off a horse while filming an action sequence and was rushed to hospital; he was not seriously injured. In May 2015, however, he injured his shoulder and needed surgery; he resumed shooting after break of two months. Chopra resumed filming in the first week of April 2015 for a month. While working on , Chopra was simultaneously filming the American television series in , requiring much back-and forth travel. She would act for at weekends and return to Montreal on weekdays for her series, returning to India in the second week of October to complete the final schedule. Before starting the film, the team discussed which parts of it had to be filmed and which parts needed to be made using visual effects. They decided that only sequences that were considered difficult or impossible to film would be created using visual effects in post production. In one sequence, it was impossible to control the movements of the 300–400 horses standing at one position in a battle scene; this sequence was filmed with a small number of horses and was later enhanced in post production. Sham Kaushal co-ordinated the action sequences for the war scenes. Three war sequences were filmed in , and . Chatterjee found the war sequences challenging and faced many difficulties while filming in the deserts of Rajasthan. Wanting to break with norms, Bhansali wanted a night-time war sequence; lighting a large, open field became very difficult and visibility issues were inevitable. Bhansali wanted very clear images. Instead, they decided to shoot these scenes in the morning, aiming for a twilight look. The main war scene featuring 800 extras, 500 horses and twenty-five elephants was filmed over twenty days near Jaipur. The extras would begin costuming, which included beards for the Mughals, moustaches for the Marathas, armours, helmets and uniforms, at 04:00 for the start of filming at 08:00. After finishing the shoot, the costumes would be washed in readiness for 04:00 the following day. Kaushal has said extensive research was done before filming the war sequences, and a rough graph was designed nine months before the filming. However, the entire sequence could not be filmed in one take on location and was completed later in a studio in Film City, and was enhanced in post production. , , , Shampa Gopikrishna and were the choreographers for the film’s song sequences. Bhansali chose D’Souza, who had only choreographed modern dance numbers at that time, to choreograph the song “Pinga”, which took weeks to complete. Chopra and Padukone had to rehearse for several days before shooting. The filming was challenging for Chopra and Padukone; they had to shoot for the dance sequences multiple times whenever the and torches used to light up the background would snuff. The song was shot at night on an open-air set decorated with diyas and torches, many of which would snuff out while filming the song. When it was suggested snuffed diyas should be corrected in post production, Bhansali outright refused. More than twelve people would run around the set with candles and oil to relight them. The sound recording was done on location. Sound designer Nihar Ranjan Samal said they had to be careful that sounds of vehicles and honking did not make their way into the recording. A number of scenes needed re-recording because of some disturbance. was shot in 217 days between October 2014 and October 2015. The film contains 1,400 visual effects shots. The company that worked on the effects was ; this was the biggest projects they had undertaken. was the visual effects supervisor; the effects took eight months and a team of sixty artists to create. Although the film was shot on highly detailed sets, visual effects and was incorporated in post-production to enhance the imagery for the scenes that were impossible to shoot in live action. The effects included the creation of interior architecture, backgrounds, set extensions and war weapons; changes to lighting and time of day, weather effects and the multiplication of army soldiers. The opening night-time war scene, which had 300 visual effects shots, was then converted into night. Arrows flying over the battlefield were created using CGI whereas the army, soldiers and horses were multiplied. The war close-up shots were filmed in a studio but were later mixed with the war scenes to form a detailed scene. In some shots, the sky was digitally replaced and CGI forts were added in others. Similarly, the climax sequence, which was shot live in water, was enhanced using CGI horses, arrows and fireballs. The climax scene took around twenty days to complete with fine details. Bhansali wanted a grand opening title design, which the team decided to create using animation. They crafted hand-drawn storyboards and drew a narration of Bajirao and his kingdom, and designed it digitally using animation within a limited timeline. A sequence in which Singh crosses the sea in a boat at night was created using visual effects. Splashing waves, falling rain falling (except for the water falling on Singh and the night sky were created in post production. The scenes that were shot on set and featured outside views, such as views from windows, were completed in post production. For dark, emotional scenes, a low-key background was created, whereas bright, colourful backgrounds were created with effects for light scenes. The film was edited by Rajesh G. Pandey. The of the film was composed by and the soundtrack album was composed by Bhansali. The lyrics are written by Siddharth–Garima, , and Prashant Ingole. The album consists of ten original songs with vocals by , , , Shashi Suman, Kunal Pandit, Prithvi Gandharva, Kanika Joshi, Rashi Raagga, Geetikka Manjrekar, , Shreyas Puranik, , , Ganesh Chandanshive and . The soundtrack was released by on 31 October 2015. The soundtrack album was well received by music critics, who praised the soulful compositions and called them “melodious and fresh”. R. M. Vijayakar of gave the album 4.5 out of 5, calling it “unforgettable” and complimented the use of musical instruments and orchestration, noting portions of the score as the most significant standout. gave a highly positive review, praising the “elegantly arranged and opulently orchestrated” songs and writing, “exhilarating soundtrack … recreates an era gone-by through sounds that are authentic … yet operatic, steeped in the classical ethos, yet contemporary”. Joginder Tuteja of gave a rating of 3.5 out of 5, calling it “high on classical base” and saying half of the compositions were situational and narrative-based that can “be expected to make a good impression on screen”. also gave it a 3.5 out of 5, noting its distinct sound and its “balance between restraint and exuberance” and wrote, ” sounds fresh, like carefully restored music from Bajirao’s times”. was one of the most anticipated releases of 2015. Special care was taken to avoid leaks during production; everything was done in secrecy. On 15 July 2015, a day before the teaser release, producers Eros International shared the first images of the three characters and a teaser poster of the film. The three-minute teaser trailer, with only one line of dialogue, was released on 16 July 2015. The teaser garnered high praise from all quarters and was deemed “grand” and “epic”. called the teaser “regal, grand and breathtaking”, and wrote that it had all the signature Bhansali elements such as “the big sets, larger than life characters, lots of colours and a tragic love story in the midst of all this grandeur”. wrote, “With its royal canvas, teaser is a burst of colours and action reminiscent of the 18th century”. In early November 2015, characters posters of the three characters were also unveiled. The trailer was released on 20 November 2015 and was also well received. As a part of the promotions, a multi-episode – India’s first – titled was released digitally in November 2015. Featuring the animated of Bajirao, Kashibai and Mastani, the graphic series narrates the tales of Bajirao’s heroism and his relationship with his two wives. This was followed by a video game titled the next month. Released on the and , the interactive game requires its players to fight enemies as Peshwa Bajirao. A multi-city press tour, which saw Singh and Padukone visiting several cities, was designed to promote the film. Chopra, who could not be in India for the promotions as she was filming for , promoted the film in the United States at a press conference in . The descendants of Bajirao, Kashibai and Mastani expressed their disapproval of “Malhari” and “Pinga” dance sequences, the midriff-baring saris worn by Kashibai and Mastani in the song “Pinga”, a dialogue deeming it “vulgar” and a “private moment” shown in the trailer, claiming excessive creative liberty was taken by the director. Though not against the release of the film, the descendants publicly asked the makers to remove those two songs and screen the film for them so they could review and suggest Bhansali remove other “objectionable content” from the film. Bhansali did not respond. Additionally, a petition was filed by an activist in seeking stay on the film for the two aforementioned songs, accusing it of “distorting history”; the High Court rejected the petition and refused to interfere with the film’s release. One of the , cost 125 crore to make and an additional 20 crore for marketing and advertisements; its total budget was 145 crore. Even before its release, the film recovered almost all of its production costs – 120 crore – from sales of its satellite rights, and overseas rights being sold for 50 crore and 70 crore, respectively. The film was released on 18 December 2015 on 2,700 screens worldwide. Although the makers had booked the date a year in advance, the makers of decided to release their film on the same date, causing a highly publicized clash between the two films. had to share the 5,000 domestic screens with in a 40:60 ratio. Distributed by , the film was released on and on 18 March 2016. The DVD version was released in all as a two-disc pack in widescreen format; bonus content included documentaries about the , its sets, costumes, music, movie images and deleted scenes. A version was released at the same time. The film was also released digitally on platforms such as . It is also available on the company’s streaming service . had its world television premiere on 23 April 2016 on . received widespread critical acclaim upon release. Writing for , Subhash K. Jha gave it 5 stars out of 5, calling it a “masterpiece”, and comparing it favorably with (1960). from gave 4.5 stars out of 5, terming it “soaring, searing and visually sumptuous”, and writing, ” plays out a like an operatic, swooning, feverish love poem.” She felt that Singh wasn’t “instantly convincing”, but nonetheless praised him (as the film progressed) for “combin[ing] towering strength with aching vulnerability and helplessness”, Chopra for having the “maximum impact” despite fewer scenes, and called Padukone “riveting”. However, she criticized Azmi’s acting. also gave 4 stars out of 5, pointing out its “outstanding” cinematography and writing, “Every visual resembles a grand painting – courts with shadows and chandeliers, courtiers with tilaks and teers, chambers gleaming with mirrors, skies blushing with passion.” from gave 4 stars out of 5, describing it as “a cinematic gem”, and wrote that “fascinating characters and inspirational sub-plots [in the film] advances into a stunning culmination”. also gave 4 stars out of 5 and said, “An outright outshining piece of art made unblemished, sprinkled with sincerity and discipline of acting – this love folklore will restore the drama lovers, back in their ‘expectation’ block”. Shubha Shetty-Saha of gave 3.5 stars out of 5, and wrote, “Sanjay Leela Bhansali in his characteristic style narrates his version of the story in a -esque scale of grandiosity, replete with breathtakingly beautiful sets, elaborate and well thought of costumes and accessories and dreamy cinematography”, which transports the viewers to a “unique and stunningly beautiful world.” Ananya Bhattacharya of also rated the film 3.5 out of 5, calling it “an experience”, and Bhansali “a master love-storyteller”. She praised the performance, saying, “Singh, Padukone, Chopra shine … while Azmi plays the intimidating matriarch with elan”; thought she thought the editing “could have been much crisper”. Writing for , Saibal Chatterjee gave the film 3.5 stars out of 5, and said, “There isn’t a dull moment in this colorful and dramatic film that embraces excess with unabashed a</p>